For the first time since 2011’s Love is Not Blind, a Chinese romantic comedy has broken out in a big way at mainland theaters. Finding Mr. Right, a modestly budgeted rom-com starring Tang Wei (Lust Caution, Late Autumn) debuted in the number one spot with $12 million in its four-day opening last week, beating out U.S. holdovers A Good Day to Die Hard and Resident Evil: Resurrection.

The plot of the Seattle- and New York-set Finding Mr. Right borrows liberally from the iconic 1993 American film Sleepless in Seattle and its 1957 progenitor An Affair to Remember—even down to the final romantic encounter atop the Empire State Building—in weaving a familiar tale of two damaged souls who heal each other through love.

Produced by Hong Kong’s venerable Bill Kong (Crouching Tiger Hidden Dragon, The Flowers of War), Finding Mr. Right is the sophomore directing effort of Xue Xiaolu, who also wrote the screenplay. Strong reviews and good word of mouth have propelled the film to successively higher grosses each day, putting it on a trajectory to reach a final gross of at least $40 million, which would make it the second highest grossing romantic comedy in Chinese history after Love is Not Blind’s $55 million.

Although A Good Day to Die Hard provided a brief respite two weeks ago, U.S. and non-Chinese films have yet to shake their 2013 PRC box office doldrums. Both Die Hard and Resident Evil dropped sharply over the weekend, and Jack the Giant Slayer managed just $1.4 million on its opening day this past Monday. Die Hard will likely finish in the mid- to high-thirty millions, down at the low end of the range I had projected for it.

Sunday brought an end to the Chinese run of The Hobbit: An Unexpected Journey, which grossed just under $50 million in the PRC, for a rather modest 4.7 percent of its worldwide total. Friday will bring the release of Oz the Great and Powerful, which will encounter some healthy competition from the popular Finding Mr. Right and Drug War, a Chinese crime thriller directed by Johnny To (Romancing in Thin Air, Life Without Principle) that debuts next Thursday, April 4th.

Total nationwide box office amounted to $42 million for the week, a 35 percent increase over the same week last year. Year-to-date China is still running a massive 45 percent ahead of last year, while North America is running 14 percent behind its 2012 total. I’ve often noted on this website that China’s box office will surpass North America’s by the end of this decade. If current trends continue the eclipse will occur by 2019, and possibly even in 2018. It’s becoming an inescapable fact that if you want to succeed in the film business in the near future, you’re going to have to contend with China.

Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.

The Hong Kong cops and robber thriller Cold War got off to a hot start last week with a $15.4 million 4-day debut, enough to make it the 3rd best Chinese language opener of 2012 and 12th best among all PRC debuts this year. For first-time writer-director Sunny Luk and his all-star cast, Cold War warmed up what had been a moribund Chinese box office, marking the strongest opening for any film on the mainland since Expendables 2 knocked off $25 million in its opening weekend two months ago.

Produced and distributed by Bill Kong’s EDKO Films and starring Aaron Kwok, Tony Leung, Andy Lau, Byron Mann and Aarif Lee, Cold War will likely rack up another strong week before serious competition shows up at Chinese theaters, with the 3D re-release of 2012 arriving on November 20th and Life of Pi drifting in on the 22nd. Mega-director Feng Xiaogang’s Back to 1942 will almost certainly freeze out Cold War when it debuts on November 29th.

Reaching $31 million in its third week, The Bourne Legacy is now Universal’s 2nd best performer in China this year after the surprise hit Battleship. With a few more weeks left in its run, Bourne should easily surpass the low end of the $35 million to $50 million range that I had predicted for it.

Wreck-it Ralph’s 6-day opening tally of $5 million continues Disney/Pixar’s long string of misfires in China. The only consolation for Wreck-It Ralph is that it didn’t open as poorly as Brave, which managed a tepid $4.6 million over its entire PRC run back in June. Disney/Pixar’s last truly successful animation release in the PRC was more than two years ago when Toy Story 3 tallied a then respectable $16 million box office total over its 4-week run in 2010.

Bait 3D wound up its extraordinary run by biting off another $500,000 to finish at $25.7 million, by far the best performance ever in China for an Australian film, and the biggest gross for any non-Hollywood import.

Aggregate weekly national box office was $39.3 million, down 23 percent relative to the same week last year. But the year-to-date tally of $2.13 billion is already 3 percent ahead of the full-year total for 2011, and with 7 weeks left in the year, China is well on its way to setting yet another annual box office record.

Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987.He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.